noelartm Reviews

The Fiendish Plot of Dr. Fu Manchu (1980)

For fans of Sellers Only? Perhaps.

[10/10 · 18 July 2006]

I saw this with my dad when I was 10. He is a huge Peter Sellers fan and therefore took me, and anyone who wanted to go, to see every Pink Panther movie. People talk about how awful it was, but I liked it so much, I insisted on seeing it twice when it was released.I bet I'm the only one who did. My favorite part has to be the musical production number at the end. I thought it was a fun scene for him to go out with.

Yes, Peter Sellers has made much better films. And if this weren't his last, his fans would probably dislike it a lot less. This movie isn't funny in a slapsticky kind of way. It's funny because it's such an unusual mix of comedy and adventure. I think it's a cult classic waiting to be rediscovered. And remember, Peter Sellars was warned by doctors not to do this movie. His poor health was in part a result of his insistence of doing all of his own stuntwork. If fans really respect Seller's dedication to his craft, they will appreciate the fact that he nearly killed himself, doing what he liked to do best - playing an eccentric characters like this. So why not honer the actor by watching his final screen performance? Allow yourself to forget all about Peter Seller's other work and let his portrayal here stand on it's own. Another suggestion: order some Chinese food to eat while you watch it. It can only make the viewing experience better.

The Weather Underground (2002)

Stormy Yet Clear Documentary

[10/10 · 5 November 2005]

This is one of the most amazing documentaries I've ever seen. Like a lot of people, I had a low opinion of the Weathermen at the beginning of the film. They seemed like selfish and unsophisticated amateur activists at first, and they were. It took a few of their own being killed by their own device -a homemade bomb- to wake them up. This was the turning point not only for them, but for the film.

Although one is a narrative and the other a documentary, this film makes for a great companion piece with Antonioni's ZABRISKE POINT. I feel like I understand that film so much better now having seen this one. In fact, a couple of WU people appeared in Antonioni's film.

The filmmakers have done an excellent job of capturing the emotional and political climate of the Vietnam War era. This is also the only documentary I have seen that shows Martin Luther King Jr. giving his personal opinion on that war. Also, it's a real ear and eye opener to hear a former Weatherman criticize modern day terrorists like Timothy McVey and those connected with the 9-11 attacks. What gives him the right to come across sounding so smug? Maybe the fact that The Weather Underground never killed anybody. If I could suggest a couple of things to the filmmakers it would be if they had only put the words "CASUALTIES: 0" with each bombing mentioned, it would have been more impressive. And secondly, I wish they'd gone into more detail about how the WU successfully broke Timothy Leary out of prison - but then as a magician never reveals, why should they?

By film's end, I had a totally opposite view of these people than I had at the beginning. So there is a real arc to the film that showed how these people had changed, thus keeping the subjects human rather that mere counter-culture stereotypes. That is a challenge for any documentary filmmaker doing a film on such controversial figures as these.

Mysterious Skin (2004)

Earth to Joseph Gordon- Levitt : You Totally Rock!

[10/10 · 20 August 2005]

While this movie is still fresh in my mind, I want to commend Joseph Gorden-Levitt for taking on a role few actors would dare to touch. I would have, but I haven't had the pleasure of meeting Gregg Araki - yet. I've faithfully followed Araki's career since TOTALLY F'ED UP and I've since felt he could make an important and profound film - if only given the opportunity and the budget. He finally has! 3RD ROCK is one of my all time favorite TV series, and I've since felt JGL had could prove himself as one of the all time great actors, if only the right script presented itself. This is it, guys! Keep up the good work. I can't wait to see Araki's next film OR JGL's next performance. If you guys were to break up, it would be like The Beatles or Zepp breaking up all over again - so don't do it!

Detour (1945)

Audience participation was invented for movies like this.

[10/10 · 13 August 2005]

This is one that never gets old. Tom Neal and Ann Savage have a chemistry that is one part fire and two parts gasoline. He, the pessimist hopelessly mad at the world. She, the femme fetal out for the kill. So what's funny about it? Everything. Tom's decisions are laughably stupid. Why did he try to hide the body on the side of the road in the first place? Was he really that down and out? He was better off where he was, making a modest living as a piano player. But he even criticizes the generous tips he's given. Is it worth giving up what he's good at just to thumb his way across the country to keep his would be "actress" girlfriend off the casting couch? The dude is simply hopeless. What he has in common with Ann Savage's character is they both have a screw loose. Are they natural born criminals or just a couple of lowlifes desperate for kicks? Do I sound like I hate the movie? No way, I love it! If anything, the characters make you feel better about your own problems for about an hour. It's so funny, too, especially after a couple of drinks. Watch this one with a group, at a party. You'll laugh your speed bumps off! Detour is an over the top, unintentionally funny cult noir classic.

The Brig (1964)

Few plays translate so well onto film.

[10/10 · 13 August 2005]

The Brig was an off Broadway play. A special performance of it was performed for Jonas Mekas' camera. If it hadn't been, it could have been long forgotten about. The acting is first rate. The sync sound was captured live directly onto the the film. The dialog sounds somewhat garbled, but that works here, since the marine captains' verbal abuse of their soldiers is as nonsensical as their actions. So this could be shown universally and people everywhere would get the point about what's going on. It all takes place in one setting and is captured with a hand-held camera. Thus we feel like a silent witness to the action. The black and white photography is instrumental in capturing such a bleak world. So whether by design or by luck, the film of The Brig is no doubt every bit as rewarding an experience as the original stage play was. Simply put, this film is a work of modern art that successfully captures modern art. It should be preserved for all time.

Unknown Chaplin (1983– )

a testament to Chaplin's genius

[10/10 · 28 July 2005]

Charles Chaplin was truly the first independent filmmaker - with the exception perhaps of Georges Melies. Chaplin wrote, directed, starred in and scored nearly all of his films. No one understood the craft of film-making (silent or otherwise) better than Chaplin. He never compromised his artistic vision, perfectionism, or his integrity. Charlie literally made his films up as he went along, rehearsing on film and discarding whatever didn't work. Such techniques would prove too costly and time consuming today. This documentary consists of some of Chaplin's best experiments - some of which he re-shot and much of which he ordered burned. Like many a magician, Chaplin didn't want his secrets getting out. Luckily, many of his best tricks are revealed here for posterity. It's all lovingly narrated by James Mason. And the scenes that were cut from THE CIRCUS, CITY LIGHTS and MODERN TIMES are as good as anything that ended up in the final releases. I wish this was available on DVD, as my tapes are beginning to wear out.

Reception to Follow (1995)

Yes! A 10th Anniversary Edition would be super!

[10/10 · 16 July 2005]

My name is Jon Shelton. I too am a fan of RECEPTION TO FOLLOW. I'm also a friend of Charles Ellis and I knew him when he was making this movie. The other reviewer is right - it does seem like only yesterday. I've had the pleasure of seeing this film thanks to Cellis. It's awesome! I'd put it in the comedy and romance category more than the drama category, although it does have some good dramatic moments. The cast is charming, fun, and attractive. In addition to the two leads, I really liked Charles Sexton in his supporting role of Chris. I feel like when I watch this movie, I'm taking a bath myself. So it's the perfect bathtub movie if you've got a TV and video set up in your bathroom. I also liked some of the film's more imaginative moments - like how a painting is admired by the people on screen but it's never actually seen by the viewer. Another moment that allows you to use your imagination is the story of how Morgan and Katherine met. I guess it will be shown in the prequel, but I like the way the story is told in the movie. It adds depth to the film. The Love Jones contributed some of the music, so could you please put out a tenth anniversary soundtrack album as well? Love that theme song "Now You're Looking Like Me" by Charles Ellis and Vince Emmet! Also, I look forward to seeing the long awaited prequel to this: PAPER CUT.

Venus in Furs (1969)

A Cult Classic Waiting To be Rediscovered

[10/10 · 12 July 2005]

Jess Franco's direction, as well as the story, acting, cinematography and music are all first rate. This was one of the first major films to depict lesbian love scenes and inter-racial love scenes. The title VENUS IN FURS refers to the main character - a lesbian with a fur fetish who digs getting it on in a group setting while fondling the statue of Venus Di Milo. (Now how much would you pay?) From a camp perspective, she is the X rated equivalent of a BATMAN villain. The pans and zooms were appropriate in keeping with the jazz theme and score. This movie reminds me a lot of BEYOND THE VALLEY OF THE DOLLS in look, production design and over all style with it's absolutely beautiful use of color. It would make a great double bill with BTVOTD. How this movie was overshadowed by that one is beyond me. It should be viewed in it's original widescreen format, too. Sure, it's dated, but it's also a refreshing blast from the past!

Imitation of Life (1959)

100% Sirky. Accept No Imitations!

[10/10 · 6 July 2005]

As others have pointed out, IMITATION OF LIFE is an important film for many reasons. Seeing it again recently, I was reminded of the top three reasons why it has earned a cult following among women, African Americans and gay men. For women, it's all about letting go of a child and allowing them to live their own life. For African Americans, it's a reminder of how much they've had to struggle for equality in American society. It's the message of not hiding who you are and not living a lie just to please other people that resonates with gay men. This film was one of the first to expose the cultural divide between black and white in America. That really wasn't being addressed in the cinema up to that point. So it must be put in it's historical context to be fully appreciated.

This film marked a crossroads not only for American society, but for the acting profession as well. Sandra Dee and Susan Kohner seemed to be of the new school of method acting. By contrast, Lana Turner and Juanita Moore seemed to be of the old school of melodramatic acting. Perhaps this is why the older actors come off as far less believable than the younger one's do. That's what makes Sandra Dee's line, "Oh mother, stop acting!" so hilarious. I really thought Sandra Dee was too perky to be taken seriously until that scene. Then she showed she could act by keeping it real. Compared to Lana Turner, she's Katherine Hepburn! Also, anyone serious about an acting career should study Susan Kohner's amazing performance. She steals the show in a role that would be a challenge for any young actress. I think she was one of the most talented actors to ever leave the business for married life.

IMITATION OF LIFE is one of those rare films that gets better every time I see it. I guess that's because it's important on more levels than you can take in on a single viewing. I could go into how it's also about a single mother's struggle for independence in 1950's male dominated society. I could argue that it's not as sappy and melodramatic as it's reputed to be. I could argue that John Gavin's performance was better than a lot of people say. However, I think I'll save those discussions for when I see it again.

The Stars Are Beautiful (1974)

Deserves another comment

[10/10 · 3 July 2005]

I too love this quirky little Brakhage film. It's just too strange not to like. We see Stan's wife Jane with the Brakhage children clipping a chicken's wings - in sync sound, which was unusual for Stan. Meanwhile, the filmmaker is heard on the soundtrack reciting whimsical poems about the sun, the moon and the stars. There is also nature footage and beautiful light patterns captured as only Stan can. My description really doesn't do it justice as this film is truly indescribable. There is no other category to put this in other than experimental or avant guard. It's a standout on the BY BRAKHAGE: AN ANTHOLOGY DVD, which is highly recommended. Watching Brakhage films like this, you can really feel the influence Stan had on 60s and 70s film students like George Lucas and David Lynch.

Alive from Off Center (1984–1991)

I wish they'd bring it back.

[29 June 2005]

I liked this show so much, I created a public access TV show of my own in Lexington which was inspired by this program. I titled my show OFF THE AIR. What was so cool about this program was you never knew what you were going to see when you tuned in each week. It could be a performance artist,a profile of a painter or poet, a dancing group or a film. One thing it never was was dull. It's too bad there's not a show like this on now that is nationally seen. With the networks preferring "reality" shows because they are cheaper to produce, it wouldn't take much for them to produce a show like this. There are many talented artists of all stripes who deserve to be seen. So we need a show like this now more than ever.

Punishment Park (1971)

the more things change, the more they stay the same...

[10/10 · 27 June 2005]

To think this film was made the year I was born. To think people are still having their constitutional rights taken away, now in the name of "homeland security". To think this movie was intentionally banned from the American public. PUNISHMENT PARK addresses the political divide in the United States better than any movie I've ever seen. Had it been more widely seen, would it have changed anything? A movie like this is so polarizing, it has the potential to cause riots. It shakes you up and forces you to take sides. It makes you face the issue: are you for the people's right of dissent in a time of war, or for the constitution being compromised in the name of "national security"? The protagonists are forced by the government to race to the American flag in a game that undermines the very ideals the flag stands for. The acting is totally convincing. So much so, I can't see any acting going on here at all. If this is a scripted documentary, it's more convincing than any reality show on television today. PUNISHMENT PARK is possibly the most important film ever made. It really makes you think.

Eat (1964)

A beautiful film portrait.

[10/10 · 27 June 2005]

What can I say about this film that hasn't been said already? Well, if you add some Velvet Underground music to it, it makes a great music video. Also, John Cale put out a CD with music for this film and A.W.'s KISS. The film seems to change depending on what music you play to accompany it or if you just watch it silent. Like A.W.'s other "screen tests", the face seems to change if you stare at it for any length of time. So A.W. was taking the portrait to a whole new level. It's one of those simple yet profound ideas that had many artists saying "Now why didn't I think of that?". It's not hard to imagine an art gallery event with films like this playing on flat screen TVs while people mingle and music plays in the background. So rock on Andy Warhol!

Uncle Meat (1987 Video)

I'm using the chicken to measure it...

[10/10 · 26 June 2005]

There is a method to Zappa's madness. One thing a lot of people haven't picked up on in reviewing this film is that there are two soundtracks playing simultaneously throughout. Sometimes it's a delay of roughly ten seconds. Other times it's a whole other soundtrack entirely. To really enjoy the film, one must ignore the soundtrack that corresponds with the images. Of course, that's like telling you not to think of a pink elephant. I watched this with headphones on. Like listening to any great album, headphones are the way to go with UNCLE MEAT - be it the album or the movie.

One thing people have pointed out is that Frank reportedly wasn't on drugs when he directed this. However, it's apparent from watching it (and other Zappa films) that many of those who worked with Frank were. He merely turned his cameras on them. Andy Warhol did the same thing with his group. So was Frank exploiting them? Was Andy? Maybe the reason there was a rivalry between the two camps has to do with how similar these two artists were in there approach to film-making. By contrast, Warhol was far more minimalist in his approach while Zappa was all about sensory overload. So there are times while watching a Zappa film one wishes he was a tad more minimalist and where Andy was concerned, the opposite is true.

One must also realize there's not only two soundtracks playing here, but two films as well. One is the documentary about the film and the other is the film itself. So there is more than merely a nod to the Maysles' GIMME SHELTER in UNCLE MEAT with all the cuts to the editing room.

I reiterate, if only Zappa had paid more attention to Warhol's films and learned to bring things to a minimum at times, this film might be more accessible. But then that's like suggesting if only Stan Brakhage had used sound more often or Jean-Luc Goddard fewer jump cuts. To each filmmaker his own, in other words. If you are a fan of Zappa's, don't miss this one. It makes a fine prequel to 200 MOTELS even though it was completed later.

The Committee (1968)

this poor man's A HARD DAYS NIGHT has its moments

[10/10 · 24 June 2005]

**warning: spoilers contained herein *** THE COMMITTEE has many fine moments from its cool opening title sequence, Pink Floyd score, to its philosophical ending. It all starts with a hitchhiker, played by Paul Jones, cutting off his driver's head and sewing it back on. He does this for a lark. Initially there are no consequences for this act, as the driver drives on as if nothing unusual has happened. However, a committee is soon formed to decide what the punishment for Jones should be. Jones is sent on holiday from work to attend the committee. No one in Jones' circle seems to know why they are sent there, until Jones starts putting two and two together. He then becomes somewhat paranoid that the committee is out to get him. Great story, silly as it is. Monty Python could have had a field day with a premise such as this. This could have also been suspenseful, but it's not. It's all told in a very laid back manner with typically dry British humor. There is much witty dialog sprinkled throughout the film. The best moment of all has to be the performance by The Crazy World of Arthur Brown. A.B. was the Marilyn Manson of his day. So, if you are in the right frame of mind, are a Pink Floyd or Paul Jones fan, or just dig 60's nostalgia, THE COMMITTEE is well worth seeing.

The Trip (II) (1967)

EASY RIDER HAS PREQUEL - IF YOU WANT IT

[19 August 2001]

THE TRIP is the first film in what I like to call "the tripolgy": THE TRIP, EASY RIDER, THE LAST MOVIE. Although these movies aren't connected by a story, the characters Wyatt & Billy -played by Fonda & Hopper in Rider- could very easily be a continuation of the Paul and Max characters -played by Fonda & Hopper- in The Trip. The three movies are a trip through an era that that tuned in with marijuana and LSD in '67, turned on to the open road and communal lifestyle in '69, only to drop out from sensory overload/overdose in '71. Each film had something new and revolutionary to offer the film world. TLM had non-linear (non-)structure, EASY RIDER parlayed counter-culture idealism into a new visual language. What The Trip offered was a revolution in editing technique, obviously inspired by the "Russian cutting" of master filmmaker Sergei Eienstien, who used the technique purely for psychologically-driven dramatic purposes. Here it is elevated to a purely aesthetic visual (as well as pychologically-driven and dramatic) means of entertainment. Add jazz to the mix and you've really got something. Although overlooked at the time, THE TRIP is one of the best edited films of the sixties. The Trip was the first sign of new and revolutionary things to come from the filmmaking team of Fonda-Hopper-Nicholson. The partnership may have been short-lived, but the influence of their work is still felt today.

Mario (1984)

Mario still has a lot to say

[10/10 · 15 August 2001]

I saw this again recently and had to rewrite my original review circa 2005.

Warning: spoilers.

MARIO is the story of two brothers growing up in a fishing village on the golf of Saint Lawrence. The family works together to support the family business - which includes a grocery store run by the mother and a fishing business run by the father and the oldest son, Simon. Mario is the youngest child who happens to be autistic and mute. Thus, Mario's mother exclaims, "Mario is the way the Lord made him and we just have to accept that." The movie is beautifully shot on the Gaspe coast. Sounds, idyllic, right? Actually, MARIO has a dark undercurrent to it.

You see, Simon is fascinated with all things Arabian. He reads Arabian Knights stories to his brother, dresses him in sheik's clothing and gets the other children of the village to build an Arab style fortress. He dedicates the fortress by leading the children in a prayer to Allah - even though Simon and his family don't appear to be Arab or Muslim. They are probably Catholic, because they attend mass on Sunday. If Simon were merely playing cowboys and Indians with the kids, maybe no one would see it as a problem. But his love of all things Arab is not just a phase Simon's going through, it's an obsession. For example, in the middle of the night, he terrorizes a group of campers with firecrackers just to impress his brother. He falls in love with a girl and tells her it's because she has Arab features. This is where the movie turns really dark. Mario becomes jealous of Simon's girlfriend and attempts to kill her. As a result, Simon breaks off the relationship with her. He goes back to playing Arabian knights with the kids. While playing, Mario has a hard time distinguishing reality from fantasy and accidentally ends up killing one of the neighbor kids. As a result, he is taken out of the home and sent to a juvenile mental facility. When this happens, I can't help but feel that Simon is the one who should be sent away, not Mario. Ironicly, in our post 9-11 world, it would probably be the parents who would be investigated. This brings up a point I would like to make.

MARIO reminds us of just how much the political climate has changed since 1984. Please don't read racism into my review. I think there's nothing wrong with Simon admiring Arab culture. It's his fanaticism and erratic behavior that would make a lot of people paranoid. If this movie came out today, it would seem more like a horror story to many, more so than the "family film" it's been labeled as. Maybe this is why people should see MARIO again.

Now back to the story. A few months later, Simon picks Mario up at the mental institution. Instead of bringing him home like he's supposed to, he decides it's better if they run away. I won't give away the ending, but it's unexpected, shocking and tragic. And yet for others it might even be uplifting, depending on your POV. I must praise Xavier Norman Peterman for his outstanding portrayal of Mario. He alone is a good reason to see this movie. If you parents out there do let you kids watch this movie, be prepared to have an honest discussion with them about the issues it presents. MARIO is a bit disturbing, but in a good way if it gets people thinking about this world we all must share.

Taking Off (1971)

SHOULD TAKE OFF ON VIDEO

[4 July 2001]

I remember seeing this on tv years ago. The scene that stands out in my memory is the one where, at a seminar, Paul Benedict (Mr. Bentley from Tv's The Jefferson's) schools a group of middle aged parents on the proper way to smoke marijuana. They do this so that they may better understand their children. A scene that really belongs in a late 60's/early 70's time capsule. It is a halarious classic scene that alone makes the film worth seeing. Hopefully this title will be out on video soon.

The Killing of a Chinese Bookie (1976)

Killer Cassavettes!

[10/10 · 24 June 2001]

Like many viewers, the first time I watched this, I thought nothing was happening. So I fell asleep midway through, only to awake for the film's uplifting ending in which Ben Gazzara gives the "girls" a pep talk -which is the greatest thing since the "win one for the gipper" speech in Knute Rockne. It made me want to see it again. Boy am I glad I did! This film is so much like real life that you not only watch it, you live it. Watching this movie is as intimate an experience as reading a novel. Thus, you are with the protagonist, Cosmo Vitelli, every step of the way. At first glance he appears to be doing nothing-but guess what folks, he's thinking. That what's missing in movies today: characters who take time to reflect before they act. People who accuse Gazzara of doing nothing here just don't get it. It's an amazing one of a kind performance in a movie that is character driven rather than plot driven. When this movie was first released, it was met with much criticism and public indifference. Audiences and critics expecting your typical mob picture were understandably disappointed. However, with Killing of a Chinese Bookie, John Cassavettes taught audiences and critics alike a valuable lesson: Rather than always criticizing films for not meeting our expectations, we need to reevaluate our expectations and expect a little bit more.

She's So Lovely (1997)

CASSAVETES DOES IT AGAIN!

[17 June 2001]

As a filmmaker John Cassavetes was always challenging his audience. He wanted to shake people out of their traditional patterns of the way people watch movies. He wanted to constanly stay one step ahead of viewers and challenge them to keep up. If you know this, any Cassavetes movie is a rewarding viewing experience. If you are unaware of this, you will surely be lost like so many reviewers I've read here are. SHE'S SO LOVELY is Nick Cassavetes paying tribute to his father's unique and often misunderstood style. The characters, like real people, do not know what they are going to do from one moment to the next. This is what makes the movie so funny, unpredictable - and so honest and true to life - that it makes some uncomfortable. Alot of critics have stated that it is unrealistic that a mother would ever leave her family under the circumstances presented here, but until you've been in a similar situation how can you really say? At any rate, one thing you can never accuse this movie of being is predictable. John Cassavetes often recut his movies even when people liked them. If he were still alive, he would probably be delighted to read all the negative reviews here, because they all point to one thing: Cassavettes has done it again. He has shaken people out of their set ways of watching movies and no one seems to be hip to it - yet. Like any great jazz artist, the work of John Cassavetes may be misunderstood at first, but finds it's audience eventually. He is somewhere laughing, knowing he has done his job. If you don't agree, keep this review in mind and watch this movie again/for the first time. Like all of his films, SHE'S SO LOVELY improves with repeat viewings.

The Million Dollar Hotel (2000)

ALTERNATVE TITLE: FORGET WALDO AND FIND BONO

[6 May 2001]

U2 just played a concert here in Lexington last Friday night and the midnight movie at the Kentucky Theatre was the Million Dollar Hotel. So, I was one of the few people to see it on the big screen. This is the best way to watch it, especially if you want to catch cowriter/coproducer Bono in his all too brief (if you blink you'll miss it) cameo. The opening ariel shots were breathtakingly beautiful. You'd swear the theatre was flying every time the camera becomes elevated. There are imediate shades of director Wim Wender's Wings of Desire as we watch Tom Tom (played by Jeremy Davies ) take a flying leap off the Million Dollar Hotel. The only other person who could have played this character -an obvious extension of Bono- would be Bono himself (and what a shame he didn't). Nevertheless, we know bono or no that right from the get go Davies perfomance will be rewarding, and it truly is. In fact, Davies manages to break every rule of acting and get away with it. His interaction with Detective Skinner (played by Mel Gibson) is halarious - especially in the resturant scene. The supporting players seem to be having a good time too, most notably Peter Sormare - who steals the show as the menatally illusioned "fifth Beatle"- a dead ringer for John Lennon. The story itself is so autisicly told and eratically paced, it demands repeat viewings (the hallmark of many a cult film). Overall a weird and rewarding experience.

Fando and Lis (1968)

Jodorowsky's First Masterpiece

[25 April 2001]

The sad fact is that nobody makes movies like this anymore. Surrealism is dead and has been replaced by so-called "reality-based TV". Seeing FANDO & LIS over thirty years later, one realizes the power Jodorowsky has to teach a new generation how it's done - for the pendulum is sure to swing back in surrealism's favor any day now. Listen to the audio commentary and learn how to use symbolism effectively. Nobody does it better. The scene in the graveyard alone is a classic. As for shock value, this was the UN CHIEN ANDALOU (1928 by Luis Bunuel & Savador Dali) of it's day. Yes, like its predecessor, FANDO Y LIS caused riots when first screened and it's easy to see why. Audiences are still being challenged by it. This is the first "midnight movie" made before the term was even coined. There is only one way to describe it: a brilliantly shocking masterpiece.

Head (1968)

THE GREATEST NON-LINEAR MOVIE EVER MADE

[10/10 · 22 April 2001]

Try to look for another movie that is such a trip without having a story or plot and you'll be hard-pressed. HEAD is a masterpiece of non-linear non-structure, surrealism and experimentaion. In less than 90 minutes, it manages to be not only a time-capsule of an era, but also a full-length experimental feature that defies time,space and convention in a way that only underground films of the sixties could.HEAD is a reflection of those films. No matter how one feels about the Monkees, this is a film every filmmaker should see because it cracks wide open the endless possibilities of film as an art medium. Had it not been for the film's unorthodox ad campaign (and the fact that by the time it came out the Monkees so oversaturated the media that the public had become weary of them and every critic was ready to pounce on them) this could have had a much greater impact. Studying how the film was edited is much more important and exciting than what's actually in the film -and yet there are some great things in it (great songs, great cinematography, etc.) . Should be seen after midnight for maximum effect because of it's overall dreamlike feel. 1968 was a time of social unrest and a call for change (thus the film's working title "Changes") and HEAD perfectly mirrors that time.

The Last Movie (1971)

THE LAST GREAT NON-LINEAR MOVIE OF THE GOLDEN ERA

[7/10 · 15 April 2001]

The Last Movie would have been much better if Dennis Hopper hadn't let his hippie friends in the editing room. If the scenes where rearranged in a chronological order rather than being non-linear as it is, it would have stood a chance. However, the late 60's/early 70's (which many critics consider a "golden era" in filmmaking) was a time of experimentation, so if Hopper wanted to be self-indulgent he was in the right time at the right place. This is one title that begs to be recut. I would suggest a DVD with the original cut on one side and a new directors cut on the other. It would be fascinating to hear Hopper's audio commentary for further insights into where his mind was at the time (if he is capable of remembering, that is). By the way, this movie won first prize at the Venice Film Festival, so it wasn't the total failure (artisticly) that many critics have tried to make it out to be. I personally like it. The only other non-linear film I can think of from that era is HEAD(1968) which was far more succesful in terms of structure, or rather, non-structure. Had these films been commercially successful they might have revolutionized filmmaking, or at least spawned a non-linear film genre.